The Minneapolis Symphony Quartett: and Adelaide Pierre

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The Minneapolis Symphony Quartett
And Adelaide Pierce
Contralto

Personnel

HEINRICH HOEVEL, First Violin
CARLO FISCHER, 'Cello
RAYMOND SHRYOCK, Second Violin
OLAF HALS, Viola



C5's of Quality


Chicago Lyceum Bureau
Chicago


Co-Operative Lyceum Bureau
Omaha


Chautauqua Managers Association
Chicago


Columbian Lyceum Bureau
St Paul


Coit Lyceum Bureau
Cleveland






MINNEAPOLIS SYMPHONY QUARTETT
THE demand throughout the country for the best class of music, performed by the best musical artists, is an encouraging sign of the advanced musical taste and judgment of the American people.  This condition of musical progress, especially in the smaller cities, is easily traced to the educational influence exerted by the lyceum courses, which have kept the public in close touch with the best of music, art, literature and science.  While musical organizations comprised of individual soloists are often offered lyceum committees, a company presenting concerted music, by solo artists associated for that purpose, are the exception.  We are gratified that we are able to present to our patrons The Minneapolis Symphony Quartett, an association of four of the leading artists of the great Minneapolis Symphony Orchestra, one of the greatest organizations of its kind in America.  Two violins, one viola and the 'cello form the most perfect combination of musical instruments know to the musical world, and for it the great composers, past and present, have written many of their master works.  The program offered by the Quartett is of such variety that it appeals to all musical tastes and demonstrates that the classical composers were the true popular composers, their music being based on the familiar songs and dances of the people.  A distinguishing feature of these concerts is the intensely interesting and instructive talk on composers and works presented, given by Carlo Fischer, a master musician, whose broad and catholic views on music are worth hearing.  The Quartett will play all accompaniments for Miss Pierce, which will add to the attractiveness of the concerts.  As the Quartett will continue to be a part of the Minneapolis Symphony Orchestra, we are able to offer this organization for only a very limited tour, and at a fee which is, for the first time, within the reach of lyceum courses.

Carlo Fischer, 'Cellist, is rapidly forging to the front as the leading American 'cellist.  Born in Washington, D. C., of wealthy German parents, his musical talent was evident at an early age.  The Violoncello was his unhesitating choice, and at the age of six he began studying with the best teachers available.

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 When fifteen he took up his residence abroad, spending eight years in Germany and studying with such masters of the 'cello as Prof. Hugo Becker and Prof. Bernh.  Cossman, at Frankfurt-on-the-Main.  Mr. Fischer's ability is attested by the excellent positions he has held in Germany, Russia and Finland in symphony, opera and quartet.  His first three years after returning to this country were spent at the first desk of the Pittsburg Symphony Orchestra, with Victor Herbert as the director.  This was followed by three years as the first 'cellist of the Cincinnati Symphony Orchestra, of which Frank Van der Stucken is the conductor; also solo 'cellist of the great orchestra of the Cincinnati May Festival (1906) under Mr. Van der Stucken and Sir Edward Elgar.  His appearances as soloist with these orchestras and during the Spring Festival Tour of the Chicago Symphony Orchestra, 1905, were marked with splendid success.


Cincinnati (O.) Enquirer
—Mr. Fischer is a fine artist and his first number at once demonstrated his virtuosity and beautiful tone.  He gave it with delicate shading and much temperament.  His second group of numbers was applauded to the echo and he was forced to respond with an encore.


Winnipeg (Man.) Tribune
—The beautiful singing tone produced by Mr. Fischer was delightful.


San Diego (Cal.) Union
—When Carlo Fischer plays genius is instantly recognized.  The 'cello is indeed part of his being.  To play as he does, one must have a soul attuned to harmony.  His hearers marveled and then they forgot to wonder.  The musician who can make the audience forget themselves, taking the audience to himself, is indeed an artist.  Such a musician is Carlo Fischer.  Had Mr. Fischer answered all the demands for more, he could have kept on playing all evening.


Pittsburg (Pa.) Leader
—Mr. Fischer's artistic playing sustained his reputation as an artist of exceptional ability.  Especially his fine tone and clear technique were greatly admired.



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Heinrich Hoevel, Solo Violinist, is the first violin of the Quartett.  He is Concert-Master of the Minneapolis Symphony Orchestra and has been one of the most prominent members of the Minneapolis musical contingent since 1890.  Born in 1864 near Bonn, the birthplace of Beethoven, on the Rhine in Germany, when only seven years of age he was given a violin as a Christmas gift, and before he had received a single lesson learned to play on it such airs as he was accustomed to hear.  At sixteen he entered the Conservatory at Cologne, where his talent and ability soon brought him into prominence.  After leaving the Conservatory he was called to London to play first violin in the Crystal Palace Orchestra, under the great Manns.  Before settling in Minneapolis he was active as director of vocal and orchestral organizations and member of various orchestras in Europe and this country.  As a quartet player, Mr. Hoevel has not his superior in the United States, and his standing and reputation as a violinist and musician leave no doubt as to his unqualified success.


Minneapolis Daily News
—The Minneapolis Symphony Quartett was heard by one of the most representative musical audiences that has gathered in Minneapolis for many days.  Nearly all the musicians of real prominence were there.  It was significant that such an audience received the work of the Quartett with great enthusiasm.—Mary E. Felton.


Minneapolis Tribune
—Like an old painting magically animated was the beautiful interior of The Craftshouse last evening.  The delightful occasion marked the first appearance of the Minneapolis Symphony Quartett at a private musicale.  The Quartett was placed on a low dais at one end of the lofty hall, hung with tapestry and glowing with the light of a great open wood fire and of shaded lanterns whose radiance was reflected in the brown wood of the stringed instruments.  It was like a quaint scene from a past century, and the imagination might easily be charmed to the fancy that the sweet, formal melodies and stately harmonies of Haydn, Beethoven and Boccherini were being heard for the first time and lovingly played by the composers' friends and contemporaries.  The members of the Quartett evidently felt the influence of the appropriate and receptive atmosphere.  They played a charming program beautifully, and the evening will be long and pleasantly remembered.  Mr. Hoevel and Mr. Fischer also fully caught the influence of the evening in their solos.


Western Musical Herald
—The Minneapolis Symphony Quartett is a strong combination, and the value, musically, of such an organization is hard to estimate.  It means real musical growth when the love for it will make four men unselfish enough in their art to devote the time necessary to do good ensemble work.


Boston Transcript
—Heinrich Hoevel fully sustained his reputation as an artist.  His scholarly and yet temperamentful playing won applause from our most severe critics, and not until he had played two encores was he permitted to depart.


Chicago Tribune
—The moment Mr. Hoevel appeared upon the stage the audience settled comfortably in their seats, for there was that in his appearance and bearing which unconsciously indicated the artist, nor was the audience disappointed.  Manliness and strength, pure tone and clean technique marked his playing of the violin from beginning to end and won for him a success he may well be proud of.





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Raymond Shryock
Second Violin, is a young American artist, noted for his great musical ability and attractive personality, has won distinction in many well-known organizations, holding position as first violin in the Chicago Symphony Orchestra and Savage's Parsifal, and English Opera Companies, in the latter company as assistant concertmaster.


Aberdeen (S. D.) Daily News
—The violin under Mr. Shryock's touch becomes a thing that lives and breathes, thrilling with joy or quivering with pain and sadness.



Miss Adelaide Pierce
Contralto, possesses a voice of unusual timbre, volume and range.  Having a fine stage presence, her concert work has been a series of marked successes, and she is everywhere a favorite with her audiences, filling many return engagements.  For several years she has been soloist in leading churches in the Twin Cities.  She sings to the hearts of her hearers, and the memory of her glorious voice, clear enunciation and interpretation of her songs are not soon to be forgotten.


Minneapolis (Minn.) Journal
—While strong and full, her voice is sympathetic and of unusual range, with an evenness throughout its entire gamut that seldom is attained except with close application.


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Olaf Hals
Viola, is a Norwegian by birth, a graduate of the University of Christiana, having spent nine years in Leipzig and Berlin studying with Hans Sitt, Emil Sauret, W. Sachse and other great masters of the violin, is a man of broad education, a linguist, speaking five languages fluently, a deep and earnest student of the great masters of music, a prominent member of the Minneapolis Symphony Orchestra and a master of that difficult instrument, the viola.


Berlin (Germany) Hademarkens Amtstidende
—The concert was opened with the 7th Concerto, by De Beriot, performed by Mr. Olaf Hals, a pupil of the renowned Emil Sauret.  He treated his instrument in a masterly way, and he understands to a high degree how to put feeling into the selections he performs.



M

MANZ
ENGRAVING COMPANY
THE 
CHICAGO